THE UPWARDLY-MOBILE MALE “ANIMAL” IN LA LO C A D E L A CASA AND THE TO RQ U EM AD A TETRALOGY

Vernon Chamberlin

The aim o f the present study is to exam ine the main animal im agery system in La loca de la casa and the Torquemada series to demonstrate how G aldós uses animal- human comparison to present and com m ent on the accelerated leveling1 o f social classes in Spanish society. Additionally, the biological result o f interclass marriage, entered into by characters w ho have been delineated by differing animal metaphors, w ill be shown as an extension and ultimate expression o f this metaphorical matrix.

In her perceptive study, “The Consum ption o f Natural Resources: G aldós’s Fortunata y Jacinta (1886-1887),” Jo Labanyi has called attention to the fact that the colonial outlook and control m echanism s are already fu lly established and operative back hom e in the M adrid am bience o f Fortunata y Jacinta, at a tim e w hen the bourgeoisie v iew ed the low er classes as “savages lacking in civ ilization .” Thus, this novel, Labanyi says,

can be read as an exercise in nation formation construed on colonial lines, since its vast documentary canvas incorporates into the nation those inhabitants (the working classes and women) whose position and allegiance are in doubt, both by compiling an archaeological archive that makes them knowable and by incorporating Fortunata (a working class woman) into ‘society’ through her sexual liaisons with men o f the bourgeoisie and petty bourgeoisie. Contemporary medical manuals [ . . . ] contained sections on demography and race, noting that the ‘inferior’ races were best adapted to healthy reproduction, and recommending miscegenation in the colonies as a way o f ‘improving the stock.’ Fortunata y Jacinta, in constructing Fortunata as a ‘savage’ and superior breeder, takes the form o f a miscegenation narrative: that is, a colonially conceived blueprint for the nation based on the ‘improvement o f the race’ through the white man’s fertilization o f the ‘native’ female. This colonial concept o f miscegenation, being based on the white man’s coupling with the native female, supposes that female ‘others’ can be incorporated into the nation, but the reverse — the ‘ incorporation 'of the native male [ . . . ] is unthinkable [emphasis added]. Thus Fortunata can be ‘improved’ (up to a point) while her uncle José Izquierdo has to be ‘contained’ within the frame o f historical paintings for which he becomes and artist’s model. The ultimate goal o f improving the male stock is achieved through the fruits o f miscegenation: Fortunata’s child has to be a male, and he will be fully incorporated into ‘society’ while Fortunata, having served her purpose, is denied full assimilation by being made to die. (192-93)

Interestingly, however, in several novels written in the decade follow ing Fortunata y Jacinta, Galdós turns his attention to what was formerly considered “im possible” — but was actually happening in Spain, as gender roles were reversed, and takes the images o f unions between superiors and inferiors to the extreme metaphor o f breeding between animals o f different species.

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Torquemada en la hoguera

We shall examine these novels in chronological order beginning with Torquemada en la hoguera, which was written in 1889 at the invitation o f José Lázaro Galdiano for the first number o f his long-running cultural review La España Moderna, In the opening chapter o f Torquemada en la hoguera the narrator initiates the use o f animal imagery in the characterization o f Francisco Torquemada2 when he calls the eponymous protagonist a “feroz hormiga.” Then he adds that together Torquemada and his w ife constitute “una pareja que podría servir de modelo a cuantas hormigas hay debajo de la tierra y encima de ella” (I, 907). Subsequently, when Torquemada collects rent from his tenants he strikes these frightened people as “la fiera” — from whom they can usually expect “refunfimidos de perro mordelón” or a “gruñido de ordenanza” (IV, 916).

Animal imagery intensifies with the onset o f the fatal illness o f Torquemada’s beloved son, Valentin. The title protagonist reacts to this circumstance with a “bramido” and pounds the w all (V, 919). When Valentin utters a terrifying “grito áspero, estridente, [. . . ] el grito meningeo, semejante al alarido del pavo real” (VI, 923),3 Torquemada redoubles his efforts to influence the outcome o f the illness by trying to undo past wrongs. N ot everyone cooperates with him in his endeavor. Most notably, Tía Roma, an old acquaintance, gives him no satisfaction at all, reminding Torquemada that he mistreated his w ife, forced her and the children to exist, “ladrando de hambre,” in a veritable “cubil,” while he gave his livestock more and better food: “los cerdos y las gallinas que criáis con la basura son allí las personas y vosotros los animales” (VIII, 932). Understandably, Tía Roma has no compunction in labeling Torquemada “perro más que perro” (VIII, 933). And when Valentín dies, Torquemada falls to the floor with a “rugido y espumarajos” and has a terrifying “pataleo” (IX, 834).

In Torquemada en la hoguera animal imagery is an important aspect o f Galdós’s artistry in the delineation o f his protagonist, who, as the narrator had told us early on, has been able to pass from pueblo to middle-class status: “pasito a paso y a codazo limpio, se había ido metiendo en la clase media, en nuestra bonachona clase media [ . . . ] que crece tanto, tanto q u e , ¡Ay dolor!, que estamos quedando sin pueblo”(I, ii, 909). In the following three novels o f the series, the reader w ill be witness to Torquemada’s ascension into the aristocracy, the final step in his participation in the nivelización de clases sociales— with animal imagery continuing to be an important part o f Galdós’s novelistic technique.

However, Galdós did not im mediately proceed to the other three novels in the Torquemada series. Among other endeavors in the four-and-a-half-year interval, Don Benito wrote, but never published, “El sacrificio, diálogo dramático.” This recently discovered manuscript, nineteen pages in length, is considered by critics to be an abandoned prelude to La loca de la casa.4 The latter first appeared in novel form (1892) and subsequently was adapted, with the same title, for theatrical performance (1893). Because some features o f “El sacrificio” and several from La loca de la casa reappear in the final three novels o f the Torquemada series, it seem s appropriate to exam ine each o f these at this juncture.

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“El sacrifìcio” and La loca de la casa (novel)

Lisa Condé sums up the importance o f “El sacrificio”:

The undated manuscript entitled “El sacrificio (Diálogo dramático)” consists o f a dialogue between two sisters, Victoria and Carlota, and their father don Augusto, divided into three scenes of one act. Certainly the genesis o f La loca can be seen to lie here, the theme of sacrifice clearly being the crucial link and the martyr—the heroine—being in each case a novitiate nun named Victoria. The other character link is that of a deceased Rafael, although in the case o f “El sacrificio” he was Victoria’s sister’s husband, while in La loca, he was their brother. (285)

M ost importantly for the present study, in “El sacrificio” there is no focus on or mention o f social leveling— and there is no animal imagery.5

However, as Galdós redeveloped this plot and these themes in La loca de la casa, he turned again to animal imagery. This work has been considered a paraphrase o f the traditional Beauty and the Beast fable.6 In this novel, Victoria de Moneada (Beauty), daughter o f a bankrupt aristocrat, relinquishes her novitiate and offers herself in sacrificial marriage to José Maria Cruz (the Beast) in order to save the fam ily financially. The bridegroom, even before going to the N ew World to amass his fortune, had been forcefully conditioned to think o f h im self in animalistic terms. A s a boy, he lived on the Moneada estate as “poco menos que un animal doméstico” (I, ix): Victoria and her sister sometimes hitched him up to a small cart and made him pull them about, as he whinnied like a horse. They called him “bestia,” “zángano,” and “borrico” and commanded him by whipping, pulling the reins, and shouting “arre.” On one occasion, they even made him eat barley like a horse (II, vi, 1637). Moreover, Cruz’s own father treated him even worse than the family donkey:

Tratábame mi padre con rigor excesivo. Recuerdo que teníamos un burro, al cual yo quería como si fuera mi hermano. Mi padre le trataba con más cariño que a mi, que me lastimaba. Los palos que al animal correspondían, hubiéaralos yo recibido en mi cuerpo para aliviarlo a él. (V, 1626)

Thus it is understandable that Cruz’s one great desire becam e that o f acquiring a fortune so that he could return to Spain and becom e owner o f the Moneada estate, “como rehabilitación gloriosa y triunfante de aquellas tristezas de m i niñez, donde fui criado, casi igual a las bestias (I, ix, 1626). N ow back in Spain, Cruz appears to the local aristocrats as “el gorila” (I, vii, 1625), “el gorila, porque moral y físicamente nos ha parecido una transición entre el bruto y el homo sapiens” (I, ii, 1618). The generic words “bestia,” “fiera,” “monstruo,” and “animal” are applied to Cruz by many characters throughout the novel (at least twenty-eight times). Although Cruz refers to h im self as a “bestia herida” (I, xi, 1628), others see him more as a “res brava” (I, ii, 1618), “boa” 0 , iv, 1620),” “dragón” (III, iii, 1649), “lobo” (ΙΠ, vii, 1652), “tigre de malas pulgas” (IV, iii, 1663) and “feroz vestiglo” (III, vi, 1651). Nevertheless, the aristocrats are attracted to him because he is also a much needed

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“becerro de oro” (I, v, 1621), or to state it differently, they believe it can be advantageous to be kind to such an “asno”— i f his saddlebags are loaded with gold (I, vii, 1623).

Cruz is w ell aware o f his distinction. He speaks with pride o f how he amassed his fortune: “con ruda conquista, brazo a brazo, a estilo de pueblos primitivos” (I, vii, 1625). I f he were to lose his wealth, he is confident that he could quickly rebuild it, adding, “[Y] con rugidos, dentelladas y zarpazos de fiera, andando a cuatro patas, la defendería de quien intentara quitármela” (ΠΙ, xvii, 1658).

With both parties highly motivated, the marriage o f Cruz and Victoria does take place. The bride hopes to be one o f those rare women, “convirtiendo las bestias en seres humanos” (II, xv ii, 1644). Thus the suspense o f the novel is sustained by the constant question o f whether or not Victoria w ill be able “humanizar la fiera” (HI, i, 1647). The task is not easy, for when appropriate, Cruz has no compunctions about telling his new wife, “[S]i m is escamas o aletas de dragón infernal te pinchan y raspan y cortan, a m í .. .el plumaje de tus alas de ángel también m e...m e punza, m e roza, m e hiere” (IV, xv ii, 1672). Nevertheless, Victoria confides to a friend that she is making progress— but it is like having to use “la pata de un elefante” for a powderpuff (IH, v iii, 1653). In spite o f repeated difficulties and a brief separation, genuine love does develop; markers along this path include instances o f Victoria using affectionate modifiers, as she refers to Cruz as “pobre animal” (IV, v iii, 1665), “pobre monstruo” (IV, x i, 1669), and “monstruo querido..., dragoncito m ío” (IV, xvi, 1675). Love and marriage do change Cruz to the extent that he is w illing to endow a hospital and allow his w ife to engage in som e “nivelando, [ . . .si.], nivelando” o f his wealth as she helps “los que nada tienen” (HI, xvii, 1659). However, he refuses to concede in the final scene o f the novel that he is “vencido y domado.” Rather, he affirms that marital love and his own self-confidence make it possible for him to enjoy “los latigazos de la domadora” (IV, xvii, 1677).

Although Galdós had said in “La sociedad presente com o material novelable,” his inaugural speech to Real Academia Española (1889), that one could not predict the outcome o f the leveling process in Spanish society (222-23), he did choose to present a positive outcome in the novel La loca de la casa and then go on to demonstrate this thesis to the theater-going public.

La loca de la casa (dram a)

In m odifying the novelistic version o f La loca de la casa to the slightly shorter stage adaptation, Galdós kept the only specific mention o f leveling to that o f wealth (HI, x , 129). In spite o f the constraint o f space he retained nearly all the significant animal imagery,7 but sometimes in the shortening process certain animal imagery ended up in an earlier-numbered scene. For example, in Act HI the reference to Cruz’s “dentellada'del tigre” is no longer in scene twelve but rather in scene seven (119), and his “rugidos, dentellados y zarpazos de fiera” have m oved from scene seventeen to eleven (128). A more important change which Galdós did make, however, concerns the designation “gorila” for the indiano protagonist.

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In the drama this metaphor does not occur a second time. Animal labels are acceptable when talking about Cruz, but in a face-to-face conversation with him on the public stage, it is politic to assure him that he is (only): “un diamante en bmto. Le faltan las facetas” (I, vii, 53). The diamond metaphor, here used to soften and replace an animal designation8 w ill recur in the Torquemada series when Galdós next explores the possibilities o f negative results in social leveling.

Torquemada en la cruz

In the year following La loca de la casa, Galdós returned to the Torquemada series with Torquemada en la cruz. In Torquemada en la hoguera animal imagery— all low ly and earth-bound— was quite appropriate and concordant with Torquemada’s social status and personal deficits. Now, however, Galdós has Torquemada interact with people w ho are characterized by animal imagery at a polar opposite: the Aguilas. Torquemada is well aware o f the sym bolism in the patronymic o f this formerly high-flying aristocratic family. Moreover, both he and they had received a suggestion from the late Doña Lupe de Jáuregui (“la de los pavos”) that a marriage o f the now-widowed Torquemada to one o f the poverty- stricken Aguila sisters could be beneficial to all concerned. In fact, Torquemada admits to him self that when Doña Lupe was expiring, “[Para] aplacarle el delirio, yo le aseguraba, me casaría, no digo yo con todas las señoras Aguila mayores y menores, sino con todas las águilas y buitres del cielo y de la tierra” (I, ii, 941). Accordingly, he decides to pay a visit to “el nido de las Aguilas” (I, iii, 943), which Galdós had changed in the galley proofs from “la casa de las Aguilas” (Davies 53)9 in order to maintain his imagery chain. After this visit, Torquemada evaluates him self in animalistic terms: “H oy te has portado com o un cochino, [ . . . como] un puerco.” It is now necessary, he thinks, to change and “presentarse ante el mundo, no ya com o el prestimista sanguijuelera que no va más que a chupar, a chupar” (II, vii, 951). Torquemada’s perception o f a need for a change is also shared by the head o f the Aguila family, Cruz. The latter feels that she w ill have no problem integrating Torquemada into the family: “Ya m e encargaré de pulirle bien las escamas. Debe de ser docilote y manso com o un pececillo” (II, iii, 981). Further, she feels that her future brother- in-law w ill accept “todas las ideas que le voy echando, como se echa pan a los pececillos en un estanque” (I, iii, 981). However, her brother, Rafael, holds a contrary opinion. Expressions o f his fierce opposition are facilitated by repeated use o f animal comparisons as he aggressively refers to Torquemada as “monstruo” (II, iv, 982); “bestia” (I, iii, 994; II, xi, 1001; II, xii, 1004); “animal” (H, viii, 994); “cerdo” (H, v, 984 ); “jabalí” (II, viii, 984); “sabandijo” (Π, ix, 995 ); “asquerosa sanguijuelera” (Π, viii, 994); and “salvaje y grotesca alimaña” (Π, x i, 1004).

Even Torquemada’s own daughter, Rufina, perceives that her father is “una fiera para la cobranza” (I, vi, 952)10 arid the narrator twice refers to the m iser’s living quarters as “huronera” (I, vii, 988) and once as “madriguera” (I, x i, 960). José D onoso (who becomes a friend, encourages the proposed marriage, and aids in Torquemada’s social adaptation)

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advises him: “La sociedad tiene sus derechos, a los cuales es locura querer oponer el gusto individual. Tenemos derecho de ser puercos sórdidos [ . . . ] ; pero la sociedad puede y debe imponemos un coranvobis decoroso” (I, xii, 965). Further, he says, “Usted m e parece una persona muy sensata, de muy buen sentido, sólo que demasiado en su concha. Es usted un caracol siempre con la casa a cuestas. Hay que salir, vivir en el mundo” (I, xi, 993). He also warns Torquemada not to be a “buey suelto” (possibly an echo from Pereda’s novel El buey suelto, where bachelorhood results in a lonely, unhappy old age).11 When the marriage is finally about to take place, D onoso once again has recourse to animal imagery, as he congratulates himself: “Había cogido a la fiera con lazo, y de la fiera hacía, con sutil arte de mundo, un hombre, un caballero, quién sabe si un personaje” (II, v iii, 993).

Torquemada, for his part, realizes where he fits into the scheme o f things. In a time when even “la Monarquía [está] transigiendo con la Democracia,” he perceives that

la aristocracia, árbol viejo y sin savia, no podía ya vivir si no lo abonaba (en el sentido de estercolar) el pueblo enriquecido. ¡Y que no había hecho flojos milagros el sudor del pueblo en aquel tercio de siglo! ¿No andaban por Madrid arrastrados en carreteles muchos a quienes él y todo el mundo conocieran vendiendo alubias y bacalao, o prestando a rédito? ¿No eran ya senadores vitalicios y consejeros del Banco muchos que allá en su nifiez andaban con los codos rotos, o que pasaron hambres para juntar para unas alparagatas? Pues bien: a ese elemento pertenecía él, y era un nuevo ejemplo del sudor del pueblo fecundando. (I, xvi, 972)

Earlier Torquemada had thought that the marriage might not be possible:

Hay una barrera..., eso de las clases. Pronto se dice que no hay clases; pero, al decirlo, las dichosasclases saltan a la vista. [----- ] La idea que me digan: “¡So! Vete de ahí populacho, que apestas,” mesubleva y me pone a morir. Y no es que yo huela mal. Bien ve usted que me lavo y me aseo. Y hasta el aliento, que, según me decía Doña Lupe, tiraba un poco para atrás... se me ha corregido con la limpieza de la boca. Y desde que me quité la perilla que parecía un rabo de conejo, tengo mejor ver. Dice [ .. .una amiga] que me parezco algo a O’Donnell cuando volvía del Africa [ . . . ] Sin embargo mi corteza es muy dura, áspera, y picona como lija.., No puede ser, no puede ser. (I, xiv, 968)

And when the marriage between Torquemada and Fidela del Aguila does take place near the end o f the novel, it is clearly ill-om ened. The bride becom es violently ill immediately following the vow s and cannot accommodate her new husband in the wedding bed. The groom, for his part, drinks too much, which causes all traces o f social veneer to vanish, as he proclaims:

Nivelización siempre [----- ] Yo soy noble: mi abuelo castraba cerdos, que es, digan lo que quieran,una profesión muy bien visto en los pueblos cultos. Mi tataratío, el inquisidor, tostaba herejes y tenía un bodegón para vender chuletas de carne de persona. Mi abuela, una doña Coscojilla, echaba las cartas y adivinaba los secretos. La nombraron bruja universal. (Π, xv, 1013)

Torquemada’s climactic, inebriated, all-inhibitions-removed mention o f nivelización

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confirms the importance o f social leveling in the novel. A lso his further statements reveal once again his social origin and personal shortcomings. The continuous, variegated, and vigorous animal metaphors leading up to this point also indicate that the subsequent volumes o f the series w ill have hard-fought personal conflicts and forced adjustments.

Torquemada en el purgatorio

Animal imagery continues in the third Torquemada novel as the now-remarried protagonist rises ever higher in social, financial, and political circles. One o f the most interesting aspects o f the animal imagery in this novel is the variety o f metaphors applied to Torquemada as various characters perceive his “animality.”

H is w ife Fidela, for instance, treats him as a house pet: “Ella le llamaba a él su borriquito, pasándole la mano por el lom o como a un perrazo doméstico, y diciéndole: Tor. Tor. . ., a q u í.. .fuera.. .ven .. .la pata.. ., ¡dame la pata!” And Torquemada is pleased to oblige by extending his hand, “recibiendo mucho gusto de tan caprichoso estilo de afecto matrimonial” (I, ii, 1021).12 Later the “pata” metaphor is repeated when Torquemada angrily complains that his life is now (in an echo o f the n ovel’s title) truly “un purgatorio.” Fidela responds, “N o seas bárbaro ...V en acá. Siéntate a mi lado. N o manotees, ni te pongas ordinario, Tor. Mira así no te quiero. Ven acá...dam e la pata, tomándole una mano. Aquí quietecito, y hablando a lo caballero, sin decir gansadas ni porquerías” (II, x , 1070). However, when his w ife tells him that Cruz is planning to acquire for him at great expense a title o f marqués, he explodes verbally and throws him self into a “frenético paso de fiera por la habitación” (II, x , 1071).

Fidela’s affection for her husband does not deter her brother’s friend, the señorito Morentin, from incorrectly believing that he w ill be able to seduce Fidela— because she is married to “ese pavo de corral” (U, iii, 1087).13 Bourgeois businessmen, such as Ruiz Ochoa and los sobrinos de Amáiz, w ho visit Torquemada in his home, characterize him differently. For them he is “el cerdo, que olfateando la tierra, descubría las escondidas trufas, y allí donde le veían hocicar, negocio seguro” (I, iii, 1022). The narrator describes business dealings as an essential part o f Torquemada’s being when the usurer returns from a summer vacation: “Entró de lleno en la onda de sus negocios, como pato sediento que vuelve a la charca” (II, viii, 1065).

Animai imagery also helps to communicate the intensity o f the conflict between Torquemada and Cruz and to express vividly the private thoughts and feelings o f each. Cruz is the dominant party, with “fiierza brutal” (Π, xiii, 1046), and she charges into Torquemada’s office like a bull: “[y] ante embestida tan arrogante, don Francisco se quedó aturdido, balbuciente, com o torero que sufre un revolcón y no acierta a levantarse del suelo” (I, xiii, 1044). On another occasion she brazenly tells Torquemada, “N o m e importa que usted relinche cuando le quiero llevar por el camino bueno; que quieras que no, por el camino derecho ha de ir usted” (II, ii, 1051). Torquemada had undoubtedly perceived Cruz’s attitude earlier, when he thought to him self, “[¡P]ara qué m e habré yo dejado traer a este elemento

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y por qué no rompería yo el ronzal cuando v i que tiraban para traerme!” (II, xiii, 1046). The answer is that Cruz has been able to open new entrepreneurial vistas for Torquemada, in part, because she wants to “dorarle las rejas de su jaula” (II, x ii, 1076). On another occasion when Cruz feels a bit o f empathy for Torquemada (as she recalls that he has, after all, done much for the Aguila family), she nevertheless still thinks o f him in animal terms. She wonders if, instead o f “llevándole a grandezas sociales que repugnaban a sus hábitos y a su carácter [,] ¿No era más humano y generoso dejarle cultivar su tacañería y en ella se gozara, como réptil en la humedad fangosa?” (II, vii, 1063). In spite o f this momentary softening, Cruz is motivated primarily toward “mayores alturas, con majestuoso vuelo de águilas, despreciando las miserias de abajo” (II, ix, 1068).

Torquemada’s brother-in-law, Rafael, who had previously opposed the moneylender’s entrance into the family with the rhetorical attacks o f his animal metaphors, continues this practice in Torquemada en el purgatorio. H e still believes that the wild-boar analogy is appropriate, as he angrily observes to Morentín, “[NJuestro jabalí, cegado por la vanidad y desvanecido por su barbarie, se desarrolla en la opulencia com o un cardo borriquero en terreno cargado de basura” (I, x , 1039). In addition to referring to his sisters as “dos pobres hormigas en un agujerito” (I, iv, 1025), he lashes out at Torquemada’s “orgullo de pavo...; no digo de pavo real, sino de pavo común, de ése por Navidad se engorda con nueces enteras” (I, v, 1027). R afael’s aggressive anger is still apparent when he later tells Torquemada (with a repeat o f a La loca de la casa metaphor) that he w ill do w ell with his upcoming banquet speech. Just remind the audience, Rafael says, that he is their Biblical “becerro de oro,” and that they should carry him through the streets for adulation, as he is telling them:

Y mientras vosotros me aclamáis con delirio, yo mugiré, repito que soy becerro, y después de felicitarme con vuestro servilísimo, viéndoos agrupados debajo de mí, me abriré de las cuatro patas y os agraciaré con una evacuación copiosa en el buen entendido de que mi estiércol es efectivo metálico. Yo depongo monedas de cinco duros a mis admiradores. Y vosotros os atropelláis para cogerlo; vosotros recogeréis este maná precioso. (ΙΠ, v, 1093)

Apparently not at all offended, Torquemada praises Rafael’s suggestion and says that he would like to give such a speech, but he lacks the skill: “Verás com o el pobre becerro no pronuncia más que un mu com o una casa” (ΠΙ, v, 1094). Nevertheless, Torquemada does subsequently deliver his speech with great success, during which Morentín feels compelled to exclaim: “Pues tiene un no sé qué de elocuencia este animal. Rebuzna oratoriamente” (III, viii, 1101).

Before Torquemada en el purgatorio closes with R afael’s suicide, there is a considerable degree o f conciliation between the two m ale opponents. Rafael, who had previously considered h im self “el mayor enem igo del becerro” (III, v, 1094), now admits to Torquemada that it w as a mistake for him to struggle with his sister Cruz (“luchando com o dos leones” p i, xi, 1108]) concerning Torquemada’s admission to the family. In most

THE UPWARDLY-MOBILE MALE “ANIMAL” 41

respects, Rafael concedes, his brother-in-law has been a great success. Torquemada, in turn, protests that he is indeed “un bruto,” but a “bruto sui generis, ” and says, “fuera de los negocios, Rafaelito, convengamos en que soy un animal.” Rafael responds, “ ¡Oh! N o tanto: usted sabe asimilarse las formas sociales; se va identificando con la nueva posición” (III, xi, 1108).

W hen Rafael exits the Torquemada series, the defective child bom o f the Torquemada-Cruz marriage remains. Although Rafael had believed that “el matrimonio absurdo, antinatural, entre ángel y bestia, no tendría sucesión” (III, iv, 1090), he was wrong and openly confesses to h is brother-in-law, “[M ]e pareció que la Naturaleza no querría sancionar una unión absurda, ni dar vida a un ser híbrido” (III, x, 1107-08). The extent to which this “criatura híbrida” (EU, xi, 1109) is animal-like w ill be one o f the major concerns in the last novel o f the Torquemada tetralogy.

Torquemada y San Pedro

The first sustained use o f animal imagery in Torquemada y San Pedro concerns the protagonist’s second son, also named Valentin. Repeatedly the narrator describes him as more like an animal than a human being. H e is first seen

arrastrándose a cuatro patas sobre la alfombra. La niñera que era una mocetona serrana, guapa y limpia, le sostenía con andadores de bridas, tirando de él cuando se esparrancaba demasiado y guiándole si seguía ima dirección inconveniente. Berreaba el chico, movía sus cuatro remos con animal deleite, echando babas por su boca y queriendo abrazarse al suelo y hocicar en él. (I, vii, 1126)

Additionally, he is macrocephalic,14 with elongated ears and twisted legs. H is linguistic ability is “salvaje, primitiva, de una sencillez feroz, [ . . . ] no más que p a ... ca ... ta ... pa” (I, vii, 1127). He prefers to play with small live animals, but this activity has to be suspended because o f his cruelty to them. Subsequently, he delights in imitating various animals. Only from his mother, who considers him a “diamante en bruto” (I, ix, 1030), w ill he permit any affectionate touching. When Padre Gamborena, the family chaplain, attempts to pet him, Valentin bites him with “dientes muy afilados”— because “Su última defensa era la mordida y a la pobre niñera le tenía las manos acribilladas” (I, viii, 1127).

The effect o f having brought such a creature into the world is devastating for both his mother and father. When Padre Gamborena exclaims, “M e ha mordido su hijo [ . . . ] ¡Vayaun hijo que os tenéis!” Fidela, “con tristeza,” replies, “Muerde por gracia, [___] no lo hacecon mala intención” (I, ix, 1132). When heartbroken Fidela’s health continues to deteriorate, Doctor Quevedo has Valentin brought to his mother’s room. He climbs into her bed “y por ella se paseó a cuatro patas, imitando el perro y el cochino; y ya se corría hacia la cabecera para dejarse besar por su mamá, ya bajaba hasta los pies, mordiscando la colcha y haciendo gru, gru” (I, xiii, 1140). Empathizing and bonding with her son, Fidela knows how to keep him playful:

42 VERNON CHAMBERLIN

Agitaba ella los pies dentro de las sábanas para que él hocicara en el bulto con saltos y acometidas de bestia cazadora, y ya se esparrancaba, ya husmeara el aire descansando sobre los cuartos traseros y erguido sobre los delanteros, ya, en fin, sentábase para frotarse el hocico con movimientos de oso cansado de divertir a la gente. Pero su principal diversión era asustar a las personas que rodeaban el lecho, y a su mamá misma, ladrándolas, y embistiéndolas de mentirijillas, con la boca abierta en toda su pavorosa longitud. Verdad que nunca se los comía, pero les hacía creer que sí a juzgar por las voces de espanto con que acogían sus furores. (I, xiii, 1140)

A s Fidela’s condition worsens and time nears for the viaticum to be brought, “le dió [a Valentín] echarse com o un perro a los pies de su madre, y de amenazar con gruñidos a cuantos al lecho se acercaban, enseñando los dientes, y preparándose para morder al que se dejara, ya fuese su m ism o papá o su tia.” Fidela’s response is “ ¡Qué bravo! ¡Cómo se defiende a su madre! Esto se llama inteligencia, esto se llama cariño” (I, x iii, 1141).

After Fidela’s death, Valentín declines markedly: “[D]esde la primera hora de su orfandad pareció querer asentar sus derechos de salvaje independencia berreando ferozmente y arrastrándose por las alfombras. Parecía decir: ‘Ya no tengo interés ninguno en dejar de ser bestia, y ahora muerdo y aúllo, y pataleo todo lo que m e da la gana” (II, iii, 1152). A s did his w ife before him, Torquemada continues to love their unfortunate son: “[A]maba a su hijo, sentíale unido a sí por un afecto hondo, el cual no se quebrantaría aunque le viese revolcándose en un cúbil y com iendo trochas de berzas. Le quería y se maravillaba de quererle, desconociendo u olvidando las leyes de eslabonamiento vital que establecen aquel amor” (II, iii, 1152). Further, when for consolation Torquemada tries to remember his first son, who was charming, physically attractive, and intellectually brilliant, he can conjure up only the mental image o f his second son. The latter seem s to speak to Torquemada:

Pero, papá, no me atormentes más. ¡Si soy el mismo, si soy propiamente el uno y doble! ¿Qué culpa tengo yo de que me hayan dado esta figura? Ni yo me conozco, ni nadie me conoce ni en este mundo ni en el otro. Estoy aquí y allá ...Allá y aquí me toman por ima bestia, y lo soy, lo soy... Ya no me acuerdo del talento que tuve. Ya no hay talento. Esto se acabó, y ahora padrecito, ponme en una pesebrera de oro una buena ración de cebada y verás qué pronto me la como. (Π, iii, 1152)

Subsequently, the narrator reports: “En tanto iba creciendo el heredero, y su cabeza parecía cada vez más grande, sus patas más torcidas, sus dientes más afilados, sus hábitos más groseros, y su genio más áspero, avieso y cruel. [ . . . ] salía más apegado a la tierra y la animalidad” (III, vi, 1161). H e is, seemingly, as accursed as was the snake in the Garden o f Eden (Genesis 3,14).

Understandably, Torquemada must now distance himse lf eniotionally from Valentin (“aquel desdichoso engendro” [Π, vi, 1161]). The omniscient narrator tells us that “Aunque le amaba también com o sangre de su sangre y hueso de sus huesos, veía en él una esperanza

THE UPWARDLY-MOBILE MALE “ANIMAL” 43

absolutamente fallida [emphasis added] y su cariño era como cosa oficial y de obligación” (IH, vi, 1161 ). With no desire now to keep up his physical appearance, Torquemada neglects both personal hygiene and the impression he projects. H is unkempt beard, for example, now features “matices de pelo de conejo, de crines de rocín” (II, iii, 1151).

Moreover, in his relationship with Cruz, he continues to sees him self in an inferior position. N ow he is like a “conejillo” in danger o f being devoured by the “serpiente” (H, iii, 1153). Consequently, his best defense is to becom e “com o un puerco espín, que se convertía en una bola llena de pinchos en cuanto se le tocaba” (H, iii, 1153). Seeking consolation outside his home, he makes a nostalgic return to the neighborhood o f his earliest days in Madrid, “com o caballería que olfatea la pesebre” (H, viii, 1166). He is greeted by “aquel pedazo de animal,” a long-tim e friend by the name o f Matías Vallejo, in whose pueblo-class bodegón Torquemada now eats, “gruñendo com o un cerdo” (H, x , 1172). His “gruñidos” continue after he is brought home with what turns out to be his final illness. Before expiring, his speech descends into “bestial lenguaje” (III, vii, 1190), and his body gives o ff “un olor ratonil” (IH, ix, 1194). Nevertheless, he still remembers his perception o f the symbolism in his in-laws’ patronymic, as he now denounces Cruz as “cemícula más que águila” (H, vii, 1190). And he is also able to give echo to one o f the m ost important aspects o f the novel— and one m ost pertinent to the present study: “Vivimos para nivelar” (IH, vii, 1190).

In attendance at Torquemada’s bedside is the family chaplain, Father Gamborena. The latter is an “eminente naturalista, [ . . . y] nada tocante a la fauna érale desconocido” (I, V, 1122). This former m issionary had regaled the Aguila fam ily with adventuresome stories o f his colonial experiences in (non-Spanish) Africa and A sia— where the raw, primitive law o f the jungle affected human outlook and behavior. Thus it is appropriate for Galdós’s narrator to characterize Padre Gamborena as a militant, aggressive “león de D ios” (I, V, 1121). And this fitting leonine imagery continues during the climactic struggle to save Torquemada’s soul, when Gamborena, so experienced in dealing with “fieras humanas” (IH, V, 1184), “se preparò a luchar com o un león, [ . . . y] no se dejaría quitar la presa” (HI, ix, 1193).

European nations, long accustom ed to treating the indigenous peoples in their colonies as an inferior level o f civilization, applied this same value system to their own lower classes in the nineteenth century. An important stimulus in this process was Darwinism.15 Now, as it was possible to consider life forms as evolving from a lower to a higher plane, so too was it possible to assume a continuum ascending from animality through human savagery to the final goal o f being socially civilized at the European level. Father Gamborena, long experienced in dealing with the w ild animals and savages in Africa and Asia, reflects this experience, as he joins other characters in trying to change (“civilize”) Torquemada. To Cruz’s request, “aplacar a esa bestia, [ . . . ] domarle, [ . . . y] vencer[le], “ Gamborena replies, “Tü salvaje, [ . . . prometo que ] le amansaré” (I, iv, 1119).

In summation, one sees that animalistic imagery is important to Galdós, both in La loca de la casa and the Torquemada series, as he presents and comments on the rise and

44 VERNON CHAMBERLIN

marriage o f the upwardly m obile m ale “animal.” In the first instance Galdós presents a positive outlook as the marriage partners from different classes adjust to one another, find marital happiness, and discover a positive future in their expected child. Subsequently, in the Torquemada tetralogy, where members o f both social classes are characterized by animal imagery, a mating o f two different kinds o f animals— low ly earthbound and the winged— produces, in accord with Darwin’s theory o f “hybrids,” a subhuman monster. Darwin saw the hybrid as usually a weakened, sterile creature, with scant prospects for longevity (199- 2 0 1 ,223 ). Thus, similarly, the animalistic offspring o f Torquemada and Fidela, “con [ . . . ] aquel contraste irónico entre su monstruosidad y la opulencia de su cuna” (H, iii, 1153) cannot be a positive symbol concerning the future. Galdós seems here to be communicating the great risks o f la nivelización de clases sociales, which indeed may not be beneficial in every instance for Spanish society.

In addition to their primary role as appropriate, vivid, and variegated adjuncts in the presentation and development o f the problematic relations between social classes, Galdos’s animal imagery, sounds, and gestures also have other functions. A s Isabel Román has pointed out (based on Nim etz’s notion o f “comic hyperbole” [117]), they achieve humor and tend toward the grotesque (210-13). Additionally, they help to present and intensify the main conflict o f the work and aid in revealing the intensity o f the antagonisms between individual characters. Moreover, animal imagery helps in the differentiation o f individual characters, as they m ay choose different animal metaphors to apply to the same given character, thus revealing as much or more about the giver o f the animal label than its object. The kind o f imagery chosen and bestowed also allow s for a w ide range o f emotions expressed toward the animal-labeled object, be it affection, admiration, or aggressive anger. Especially interesting are those instances in which a character is aware o f the animal imagery applied, thinks about it, and may even discuss it with the character who originated it. Unique, among all the studies o f animal imagery in G aldós’s novels to date, is the phenomenon o f two characters who incarnate the verbal labels applied to them and actually procreate a subhuman, animalistic offspring. Because this creature is bom, ironically but significantly, on 25 December, it is not inappropriate to consider a parodie Biblical reference to that date: “In the beginning was the word, [ . . . ] and the word was made flesh, and dwelt among us” (John: 1.1-9).

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NOTES

1 A s early as 1868 the reading public was being entertained concerning the phenomenon o f social leveling. In a series entitled “Paso de la fuente castellana— Por el coche, facha, y traje se conoce el personaje,” the magazine El Museo Universal has a cartoon-like pen sketch that humorously contrasts the declining aristocracy and the rising new ly rich (XII, [junio] 214).

2 To my knowledge, critics have not studied systematically the animal imagery in the Torquemada series. Rhian D avies, for example, points out that Don Benito added some animal imagery as he corrected the galley proofs for Torquemada en la Cruz (53). Isabel Román (following Nim etz [17]) devotes three pages to showing how animal metaphors, gestures, and sounds relating to Torquemada produce a com ic effect and tend toward the grotesque (210-13). Peter Earle has focused on Torquemada’s change and social adaptation, but has very little on animal imagery (29-43).

3 Galdós had earlier suggested in Lo prohibido the dehumanizing effect o f a character’s moments in in extremis, when his narrator says concerning José Carrillo: “Sus gritos eran la exclamación de la animalidad herida y en peligro, sin ideas, sin nada que distingue al hombre de la fiera” (I, xiii, 2 ,1756 ).

4 Maryellen Bieder has offered persuasive evidence that “El sacrificio” was penned by Galdós, and galdosistas are indebted to her for publishing the manuscript (12-13).

5 For an analysis o f “El sacrificio,” see Lisa Condé (283-97).6 Lewis E. Brett was among the first to perceive the interrelationship between La

loca de la casa and the Beauty and the Beast fable (810), with which Condé (Theater, 170, n.2) concurs.

I Condé comments: “The many animal im ages attributed to Cruz in this play reinforce the ‘Beauty and the Beast’ analogy in his forthcoming marriage” (170, n.12). Additionally, she says that the “animal/child” concept [o f Victoria regarding Cruz] is not uncommon in wom en’s attitude toward men” (172, n .l 1).

8 For details concerning other aspects o f this play, see the “Introduction” (1-21) and “N otes” (passim) o f Condé’s excellent edition.

9 In addition to changing “la casa de las Aguilas” to “el nido de las Aguilas” on the galley proofs, Galdós also introduced “a certain amount o f animal imagery” and animalized verbs to the extent that Torquemada, for example, “bramó” rather than “murmuró”’ (Davies 53)

10 Obviously not all o f G aldós’s animal im ages pack the same punch, but even when they tend more to be idiomatic expressions o f the language, w e have included them, because Galdós did choose to use them, rather than som e other kind o f imagery, and they accord with the overall tone, as w ell as the consistency o f the stronger animal metaphors.

II “El buey suelto” often translates as “bachelor” (Klibbe 67). In her Diccionario, Maria Moliner lists “el buey suelto bien se llama: expresa que la libertad es agradable” (1,426).

46 VERNON CHAMBERLIN

12 Galdós had earlier shown similar marital affection with playful animal imagery in Lo prohibido (Chamberlin 62).

13 Galdós also engages in word play concerning animality when Morentin challenges Fidela for having labeled him “un m agniifico animal.” She insists on this designation, because “Animal es lo que no tiene alma.” Thereupon Morentin quips, “Precisamente es lo contrario,. . . A...ni...mal, con ànima, con alma” (I, x, 1036).

14 Earlier Galdós had Isidora in La desheredada produce a macrocephalic child, whom many critics consider a reflection o f her overly ambitious fantasies. Likewise, here macrocephalism m ay ironically reflect Torquemada’s grandiose notion that he could reincarnate his deceased son, which was his only reason for remarrying.

15 Galdós w as w ell aware o f Darwin’s theories, and gave evidence o f an early “costumbrismo darwinista” in his 1860s contributions to La Revista Del Movmiento Intelectual De Europa (Hoar 71). Subsequently, specific mention o f Darwin occurs in Doña Perfecta, when D on Inocencio tries to lure Pepe R ey into a discussion o f “darwinsismo,” but Pepò refuses to discuss “las doctrinas de Darwin” (IX, 114-15). In Lo prohibido the narrator says, concerning Sánchez Botín: ‘[A]quél nos venía a revelar el discutido y no bien probado parentesco de la estirpe humana con animales. Viéndole y tratándole, me entusiasmaba con el transformismo y m e volvía darwinista” (H, iv, 1868). In Miau, Mendizábal is perceived as “[E]l hombre gorila [ . . . ] , aquella transición zoológica, en cuyo cráneo parecían verse demonstradas las audaces hipótesis de Darwin, [ . . . era] digna de la vitrina de cualquier museo antropológico” (XII, 587).

THE UPWARDLY-MOBILE MALE “ANIMAL” 47

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